Archive for the ‘J Dilla’ Category

Black Milk’s Album of the Year

September 20, 2010

Drums, drums, and more crashing drums. It was difficult for a large swath of Dilla fans to overlook the obvious characteristics that Black Milk’s sound shared with Dilla’s since he came on the scene: drums, drums, and drums. However, on Album of the Year, Black Milk really stepped up his game with live drums (utilizing a live 4-piece band); this becomes the emblem of AOTY and easily carries the album. “Keep It Going” sounds like “Give The Drummer Sum” part two, which was the signature track of Black Milk’s last album, Tronic. He also has some great baselines throughout AOTY, particularly on the introductory “365”. Sonically, Album of the Year doesn’t let down.

I found Black Milk’s guest spots curious, and agree with Kyle: several of the featured artists add minimally to AOTY’s overall sound. From the range of artists that Black Milk has worked with, I would think he’d be able to do better than Danny Brown. Listen, I know Danny Brown gets props in Detroit, but his spot on the cleverly named “Black & Brown” is weak. (I thought the same thing about him on Dilla’s “Dilla Bot v. the Hybrid” from Jay Stay Paid. It’s too bad, too, because that “Black & Brown” beat bangs. I also agree somewhat with Kyle regarding “Deadly Medley.” Elzhi doesn’t sound like himself (not sure if this is recording, or anything circumstantial). Being a huge Elzhi fan, I wasn’t moved by his verse. I think Black Milk and Royce both go hard on “Deadly Medly,” however, and that track is going to get lots of spins.

One aspect of AOTY’s sound I really like are the “interludes” between tracks, i.e. how Black Milk changes the beat up and lets it ride out during transitions between one track and the next. It reminds me of what Questlove & Dilla did on Common’s Like Water For Chocolate. I often think that adds to an albums overall progression, and adds a little something extra musically.

Lyrically, Black Milk is, as he’s always been for me, hard to pin down. He doesn’t have the punchlines of Elzhi, nor is is his flow Phonte [formerly] of Little Brother or Blu. But he’s got something few emcees do: he’s a producer, and it sounds like either he makes beats to suit his flow, or he tailors his flow to enrich the beat. Like Dilla and T3, Black Milk has a flow that sticks and moves, and even without the hard punchlines, he sounds good. This isn’t to say he doesn’t have some good lines. However, Black Milk rhymes like a producer: with the overall sound paramount, and demonstrating care in making sure his delivery fits with the beat (rather than a battle emcee who’s always on the attack, e.g. Guilty Simpson). One listen to “Gospel Psychadelic Rock” and you’ll hear what I mean. Black Milk shows some lyrical growth on “Distortion;” not solely because of the material/topic, but because he does so without sounding corny, speaking on the medical condition of his manager & the death of Baatin. I always respect when artists are introspective/personable, but it’s not always easy to pull off, especially in the midst of an album that is sonically akin to a thunderstorm. There isn’t much going wrong on “Distortion”: banging drums, grounded baseline, and mood-exuding guitar.

“Gospel Psychedelic Rock” is an incredibly dope track: the perfect compromise between straight hip-hop and a cornucopia of sounds; the track utilizes drums, guitar, insane baseline, scratches, samples, and a great hook, “Better watch out here we come, here we go.” Black Milk can be heard in the background saying something to the effect of “yeah, we destroy shit,” and that’s pretty much what he does on this track. Beat is crazy (and gets doper as I ruminate about it). Classic Black Milk. This track and “Keep Going” are exactly why I love Black Milk.

“Closing Chapter” serves as a proper ending to any album of the year. Topically, Black Milk explores his influences and sources of inspiration/strength over a guitar riff and, consistent with the rest of the album, great drums. Like “Gospel Psychedelic Rock,” Black Milk’s flow is perfect for the beat. The only thing “Closing Chapter” is missing is Common’s Pop (yeah, of Pop’s Rap fame) extolling some knowledge as the beat simplifies and fades.

So, does Black Milk have the album of the year? At the very least, he does have the album of his year. On the production side, this album is nearly flawless. I would be hard pressed to enumerate anything more I would have wanted sonically. Album of the Year seems to need some lyrical power to put it over the top, however. I can only imagine what this would have sounded like with Blu, (more) Elzhi, or Pharoahe Monch on it. Or, alternatively, what it would have sounded like with only Black Milk. A handful of thin parts of the ice, namely Danny Brown and “Oh Girl,” which I could do without, while weak, do little to damage the full scope of the album.

Dilla

February 11, 2008


Dilla dates have come and gone – I’ve spent a good amount of time perusing different accounts and write-ups over the WWW. I think this one (at Metal Lungies) is the most comprehensive, and really does a good job of putting Dilla’s role in hip hop into perspective; reader/listener accounts are great.

For me, I was enjoying Dilla beats before I knew they were Dilla beats. Admittedly, it wasn’t until Kyle gave me a mixtape (Kyle used to make the illest mixes…On cassette…Trading Tapes anyone?) the summer of 2000 with SV’s “2U4U,” that I was “officially” introduced to Dilla…or Jay Dee. Once that connection was made, past music, e.g. ATCQ, Pharcyde, Busta Rhymes, all made more sense. The drum patterns, the sampling. Stylistically unique. Sonically threaded throughout his work. Then came Common’s Like Water For Chocolate, which for many, myself included, represented a “new” Dilla sound; the same way I felt when I heard EB’s “Didn’t Cha Know.”

Back to “2U4U” – the simplicity of that beat was so new to me; I fell hard for that song – the stop-and-go flow (featured throughout Fantastic Vol. 2) was so on point for that track. Let’s face it, that album completely changed my perception of hip hop music. I had a cassette player in my ’89 Ford Escort, and due to incessant rewind-play of that song, the cassette eventually got stuck in the player. It stayed there until I sold that car. To a large man with a large beard.

One of the “reflections” shared in that post from Metal Lungies indicated that the author wasn’t into Dilla lyrically (initially). Personally, I think he was the best lyricist for his beats. I guess it makes sense – Dilla was intimately involved with every nuisance of his beats, and at times, it sounded like he was less interested in “rapping,” and more considerate of adding more depth to the beat through his rhymes/delivery.

My Dilla discography is probably the prize possession of my music collection. It’s varied enough to match virtually any mood/situation. And seeming unique to Dilla, his beats are rarely dated. Bangin’ a track from 1996 is just as fresh in 2008.

Funny anecdote – I remember when the light went off in my head that SV’s Jay Dee was the “J. Yancy” all over Tribe’s Beats, Rhymes, & Life credits, I thought, “Wait, isn’t this the guy thought to have ruined Tribe?”

I never believed it.

It wasn’t until years later that I realized that Phife’s, “Slum Village gold still danglin’ in your ear,” from “Butter” was sampled by Dilla on FV2. (also sampled by Peanut Butter Wolf for Charizma’s “Jack the Mack,” from Big Shots…Just sayin’ is all.

BTW – I love(d) BR&L.

Appreciation Post: Blu & Exile “Below the Heavens”

January 31, 2008

photo.jpgSometimes this view gets me all sentimental, especially after a long walk around town. That walk gave me time to bump some albums on the iPod that I had put aside for a while. That’s why I want to bring it way back to 2007 and show some TT love to Blu and Exile’s LP “Below the Heavens”, my favorite album from 2007–and maybe the last 3 years or so.

It’s been a while since we’ve had an emcee with the package that Blu brings to the table. He mixes an accessible personality with excellent flow, clear delivery, and some clever rhymes. I ain’t crowning him the next Jigga, but he is an emcee that many should envy. More importantly, he has the “stamina”, if you will, to lace an entire 15-track album with solid rhymes. Stamina is perhaps an inexact word, because Blu also manages to avoid the fatal flaw of many emcees: over-extending one’s self. You gotta know your limits, and this guy does.

And Exile’s beats? I’ve struggled to describe his style to other beat heads, and why they should feel his shit. Without playing his music, it hasn’t worked well. I’ve tried a few metaphors that ultimately don’t work. Suffice it to say that he’s able take some of the production methods and elements that we appreciate, yet still sound authentic, instead of genre-driven.  Make no mistake, I’m cognizant of the fact that my tastes here can often fall into an identifiable market niche. My more mainstream-oriented friends are quick to remind me of this fact. But Exile is able to tweak his beats in a way that retains the elements I like, while keeping it interesting. For instance, I like the way he syncopates the high-hats on a lot of his beats. His snares have authentic sound to them. They don’t blow out your ear drums like Black Milk’s or Just Blaze’s perhaps; no matter how great of a snare it is, it just kind of plays along with all of the other elements, in a very egalitarian way. On top of all this, Exile isn’t afraid to let a beat ride out at the end of a track, or to incorporate some changes halfway into the beat. In short, Exile is an excellent producer.

Together, Blue & Exile gave us what had to be one of the most coherent LPs from 2007. No track stood out as the “single” track, or the “b-side” track, or anything like that. “Below the Heavens” was a throwback to an earlier time when an album didn’t have to be all things to all people. It wasn’t an iTunes a la carte, cocktail-hour hors devours platter. It was momma-style, home cooked meal with the veggies, meat and starch all working together; from start to finish.

Blu rhymes his ass off on some serious shit here. Whether it’s about insecurity (“Dancing in the Rain”), striving for morality (“Narrow Path”), love & fidelity (“Greater Love”), upward mobility (“Good Life”), and personal humility (“Blue Collar Worker”). But he ain’t preachy–a delicate balancing act for anyone in today’s hip-hop culture which generally frowns upon serious introspection (not to be confused with Kanye’s navel-gazing, and whining on Graduation, which I discuss here). This is no small feat.

And Exile chops up a beat in way that evokes Dilla’s Donuts stuff. It’s always unpredictable, and retains the soulfulness of the original track in a way that is satisfying to the trained ear of any fan of soul music (See: “Blu Collar Worker” and my favorite track “Below the Heavens Pt. I”).

I’d like to get into more tracks at a later date, I just needed to take some time out to express my appreciation for this album. Last year was a great year for hip-hop at many levels of the industry food chain. But “Below the Heavens” stands apart from even that distinguished pack as an album worthy of comparison to my mom’s home cooking–no small compliment.

Peace…

Review: Guilty Simpson – “Ode to the Ghetto”

January 28, 2008


Guilty Simpson – “Ode to the Ghetto”
Stones Throw Records 2008

In a word: boring…

I’ve listened to the album about 10 times or so now, and I remain unconvinced that Guilty can hold down an album on his own–even one with an all-star production lineup like this. I won’t mince words because I like Stones Throw or Madlib or Dilla or Detroit: Guilty got exposed on Ode to the Ghetto.

I initially thought that this LP had the potential to bring us back to the golden era where an album featuring sub-par emcees could still be a banger because of a ridiculous production lineup. I was wrong. I don’t know if it was an attempt to match Guilty’s lazy delivery, but even some of the producers come weak on Ode.

First, the good part.

“American Dream” is indeed dope. Pete makes the proper reference to Madlib’s Beat Konducta in India project, and that Bollywood/Near Eastern influence he’s been getting out of his system. This beat is vivid, multi-layered, and it changes frequently–necessary busy-ness when Guilty Simpson is involved. Guilty’s deadpan, baritone delivery works well here, if only as an additional layer to an otherwise stellar Madlib beat (in other words, a rapper like Phonte or Blu might not sound as great on this beat). Then again, this is a familiar formula for many of my other favorable Guilty Simpson experiences. Though I’d ultimately be disappointed, this track got me excited for the rest of the album. It was well placed.

The title track “Ode to the Ghetto” also works well, with Madlib’s kid brother Oh No lacing an old-schoolish drum loop over some more Near Eastern vocal samples. There are also some significant changes here, and Guilty probably writes his best hook on the album. Again, the verdict is that Guilty Simpson is only tolerable on a well-crafted, complex sort of beat. Anything less exposes his weakness as an emcee, as I’ll get into below.

“Getting B*****” is one of the last highlights from this offering. I must admit that Denaun Porter has become one of my favorite producers in the last six months or so. His beats are so crisp and loud, yet manage retain the critical amount of grime that keeps them street-worthy. His works also possess a soulful quality that is hard to describe–though it is undoubtedly aided by Mr. Porter’s unique, falsetto singing voice that finds its way onto his tracks. Guilty is dope here. This beat provides the busy, noisy, and dirty playground that Guilty Simpson needs. All of the above might as well apply to “Pigs” as well.

But that’s the extent of it…

Guilty Simpson is too often reliant on his image as a product of the streets, and lacks the lyrical skills to repackage that image into something more novel. Like many commercial rappers, he is peddling swagger, and not much else. That swagger works here and there (see tracks listed above; also see entries in my music library from Yo Gotti, Lil’ Wayne, T.I. and others), but ulitmately, the popcicle-stick-and-bubble-gum foundation of pure swag is far too weak to sustain a full-length album worthy of any critcal praise. I could see some of these tracks turning into a solid 12″, and maybe an EP, but not much else.

“Kinda Live” is a track that I think Mr. Porter should have saved for a more versatile artist (it reminds one of Jay Electronica’s “Hard to Get”); Guilty just sounds uncomfortable switching up his flow for this unorthodox arrangement. I wanted to like this track, and I’ve probably listened to it more than any other on the album, but in the end I was left with the same feeling that one gets when watching George W. Bush squirm when he’s answering a question that his aides didn’t prepare him for. This is dope track but it was not cut out for Guilty. This is not to mention the subject matter, which, now that I have mentioned it, doesn’t work here either.

“Kill Em” and “Almighty Dreadnaughtz” are the two single worst beats I’ve heard from a Stones Throw offering in a while. This wouldn’t make some myspace artist’s mixtapes. That shit was just lazy. If Mark Jackson was writing this, I’m confident he would add a, “Come on, Peanut Butter Wolf, ya better than that!

“Several of the other Madlib and Dilla beats take on that wackier tone reminiscent of some of the Jaylib material, with a more stripped down construction, which has the effect of exposing Guilty for the sub-par emcee he really is. Simple “cat, bat, hat” rhymes proliferate, and with a subtle beat, you have no choice but to focus on the lyrics. Songs like “Robbery”, “Yikes”, and “I Must Love You” take special emcees to make them work. Frankly, sometimes I think these tracks might only work with Lord Quas on the track.

“My Moment” is an interesting, synthy direction for its producer, Black Milk; yet the result is the same, Guilty’s lyrics are in the forefront, and they just put you to sleep. He ain’t talking about anything, and this truth is painfully clear when you’re forced to listen, and not distracted by a loud, multi-layer Madlib or Oh No concoction.

“Footwork” and “My Moment” kinda knock, but they’re not really my style. I’ll give Guilty the benefit of the doubt on these, but I’m not sure that this is anywhere near enough to tilt the scales for the album as a hole. Oh No did lace “Footwork” on that long outro (but you’ll note that the best part of the track is the part where Guilty ain’t rapping).

Given the high regard that many of us hold for Guilty Simpson’s friend and mentor J Dilla, Dilla’s infamous blessing upon Guilty as his “favorite emcee” made all of us stop and take notice of this guy’s career. I’ve often wondered what it was that Dilla saw in Guilty, and I listened intently for it. I guess I’ll have to keep listening–it just won’t be Ode to the Ghetto.

RATING: 2 of 5 tapes.

Morning cuppa Go…

January 17, 2008

Been meaning to compile a list of morning tracks that get me going on my 5 mile commute to work. Kyle and I have traded tracks for years now, when our sleep cycle is stoked by a particular “morning” track – I think I’d be doing a good service to share them, you know, in case anyone is looking for a musical pick-me-up in the morning. Please feel free to post your own in the comments, I’m always looking for a new morning cuppa go…(these aren’t presented in any particular order) “Okra” by Olu Dara (from 1998’s In the World: From Natchez to New York) – Olu does is damn thing here, with this sense-sational track that awakens more than the eyes. This laidback, breezy track reminds me summer days sitting in my uncle’s apple orchard, eating fresh strawberries and plums; and that cornet…like coffee teasing the olfactory sense. “Grazing in the Grass” by Hugh Masekela (from Still Grazing) – probably one of the more recognizable trumpet melodies, Masekela’s “Grazing in the Grass” is one of the most invigorating tracks in my music collection and man, you have to love the cowbell. If I were a producer, I’d make the cowbell my signature piece. I would say this could be considered a standard, as it’s been covered by several artists, since it was first written in the mid-1960’s; if you prefer the harmonica, check out Eivets Rednow’s version from 1968’s “Alfie.” (yeah, that Stevie Wonder). I can’t think of anything off-hand that has sampled this, other than this from Nice & Smooth’s Ain’t a Damned Thing Changed. “Move On Up” by Curtis Mayfield (from Curtis) – Kanye did us all a service by bringing a much-deserved light to this gem. Mayfield actually has a few candidates for the A.M., but the horns on this certainly move it up the list. “Work to Do” – Kidz in the Hall – ill soul-sample; empowering message; beat that instills optimism. This is a great track to pump when you know you’ve got a contentious meeting waiting for you. “I Was Made to Love Her” – Stevie Wonder (from I Was Made to Love Her) – What can I say? I love Stevie and I love how Stevie seemed like he was always singing for the last time ever. This is a great example of why soul of the 60’s and 70’s trumps the majority of “soul” or “R&B” today – you can’t help but believe Stevie loves Susie; most contemporary cats don’t get this aspect of singing. Thank God for cats like Dwele. “Starlite” by Panacea (from Ink is My Drink) – love the pace of the beat and the effervescence of the melody. “Jaimerais” by Hocus Pocus (from 73 Touches) – it’s in French, I have no idea what he’s rhymin’ about (or if he’s even rhymin’), but I reckon it’s some tale of lost love (?). The melody and chorus create a care-free sound, and the horns put the nail in the coffin for this being a morning classic. I swear, that singer sounds like Vinia Mojica…but I have nothing to back it up. “Me, Myself, & I” by De La Soul (from 3 Feet High and Rising) – if you don’t know, you better ask somebody “Won’t Do” by J Dilla (from The Shining) – there are a slew of Dilla-produced tracks that make their way into the A.M. playlist, e.g. SV’s “Raise it Up,” but this is one of my favorites. Great sample! And Dilla, on the hook! “Whatever You Say” by Little Brother (from The Listening) – if this beat doesn’t conjure buds, bees, and birds, and all things related to the seeds of amorous feelings, the good old vernal equinox, then I’m through. Phonte’s non-rhyming verse is classic in my book, and 9th killed this…as with the majority of tracks on that album.That list is not exhaustive of course, but it’s a good start to any morning. Throw them on a playlist, and enjoy better days in 30 days or less…Peace

Way back when…in 2007…

January 3, 2008

Aight, it’s January 3 and neither myself nor Kyle have shared any thoughts on the year in music that was 2007 (looking at our last post, looks like we’ve been hibernating). But, I’ve been listening to music incessantly, and been reading some fine wrap ups on some of the blogs I frequent however, and don’t feel it necessary to cut and paste some of the great albums and tracks that others have recollected, e.g. Ohmega Watts’ Watts Happening over at WTR. (“Model Citizen” still sits atop as my favorite, along with “Dedicated” & “Eyes & Ears.”) Sure, I really dug (or digged) Pharoah’s Desire, Hov’s American Gangster, Kweli’s Ear Drum (Madlib dressed “Everything Man” & “Eat to Live” smartly), and other top choices for top 5-10 albums of the year. There are a few albums that I felt didn’t get represented as well as they should have in others’ top 10 lists.

For example, one of my early favorites of the year was Black Milk’s Popular Demand, shown some love early in ’07. “Sound the Alarm” with Guilty Simpson has to be in the top five for gully of 2007. Through 2007, Black Milk lent some really dope production to a range of artists (not including how he laced up his own work, e.g. “So Gone” & “Take It There,” both from Popular Demand). If you haven’t, be sure to check his work on Wildchild’s Jack of All Trades. “Love at 1st Mic” is so Detroit, so Dilla, you have to love it, featuring the classic cut and stuttering soul sample. This beat could have easily been on Popular Demand. I really like the drums on “Ox to tha D,” but Frank-N-Dank don’t really do it for me, nor does the chorus…but the beat is still pretty hot. Black Milk also killed “Danger,” (shown love at WYDU, #81) from Phat Kat’s Carte Blanche; this track was also featured on BM’s EP, Broken Wax, but in my opinion, the highlight of that project was “U’s a Freak”: Classic tale of dude calling out a girl who’s a lady in the street but freak behind doors (very Slum Village-esque theme), but that beat is ridiculous.

Jneiro Jarel also put out, what I consider, and excellent album in 2007, in the form of his Shape of Broad Minds project, which is to Jneiro Jarel what Yesterday’s New Quintet is to Madlib: includes Jneiro Jarel, Jawwaad, Rocque Won, Dr. Who Dat?, and the only non-Jneiro creation, Panama Black. Craft of the Lost Art (digital version here) features the rare soul/funk samples of Madlib, drum arrangements of Dilla, non-self-absorbed lyrics of Ohmega Watts, and the free wheelin’ style of a Count Bass D release. Four elements that make for a great album. Led by the single “Let’s Go” featuring MF Doom working as a tribute to Dilla (whom I would guess Jarel was a student), Craft of the Lost Art is packed front to back with diversity, but manages to sound coherent in one listen. While tracks like “Let’s Go” & “Light Years Away” back the bangers, I really like when Jarel sculpts some more surreal backgrounds, as heard in “Changes,” which features a rolling sample that makes the track float, “Electric Blue,” one of my faves on the album, and “Lullabanger,” the latter very Madlib-esque in the use of rising tones, and, what sounds like a maraca. And I’d be remiss if I didn’t include the jazz tribute, “It Ain’t Dead!!” reminding us all that jazz still contributes greatly to hip hop music. Unfortunately, when I was in Philly and tried to check out Zanzibar Blue, I found it to be closed.

Other honorable mentions include:
100dbs & Ryan O’neal’s The Adventures of the One Hand Bandit and the Slum Computer Wizard – a long-winded title, sure, but it’s certainly worth checking out for 100dbs’s production. Sample-heavy it is, but as I always say, the ability to find an ill sample nearly precludes sculpting the sample into a track. 100dbs digs some good ones. Highlights include “She Got a Body,” “Get Down!” & “One Hand Bandit.”

Waajeed’s Waajeed Presents: The War LP – Again, here we go with Detroit. Waajeed’s production is on point throughout this “compilation,” which is comprised of both vocal and instrumental tracks. The instrumentals are worth it, but you throw in some excellent tracks from Ta’Raach, a few Dilla instrumentals, and 3 solid Tiombe Lockhart songs, and this album gets better and better, culminating with its final two tracks: “Escape from Stinktown” and the instrumental, “Tron.”

I first learned of Uncut Raw’s First Toke over at When They Reminisce. This was certainly a surprise banger for me, and due to this element of surprise, probably is in my top 5 for the year. Both Selfish & Fluent are capable emcees but for me, the production is definitely the selling point – the samples could hardly be more perfect, including so-soulful and funk, and it sounds like it was recorded in a dark basement; it’s got that dusty sound that made (or, makes) Wu-Tang’s Enter the 36 Chambers so appealing. “The Flying” may be in my top 10 tracks for the year, and is quite Dilla-esque if you ask me.

Sa-Ra’s Hollywood Recordings continues the Detroit ambiance and restores some contemporary Prince vibes to the ’07.

And last, but surely not least is Panacea’s The Scenic Route, which you can (or may have already) read about right here. I still maintain that Raw P is one of the premier story tellers out right now.

Here’s to 2007 – an excellent year, imo, for music. Both the underground and not-so underground came with some really solid albums; while I will occasionally get into a funk when I hear an awful hip hop song on the radio, or see some sloppy video on television, I cannot really complain about what came out in 2007. I’m optimistic enough to be quite interested in 2008’s releases.

Hip Hop, rock, rock on and…

New Selection Coming Soon…

April 6, 2007

It’s been a minute, but with Easter break beginning, and school-related work at a whisper (if at least for only a week), I will be throwing up a new album for discussion this weekend. In the mean times, head over to Stones Throw and check out the Dilla Interview series…particularly the most recently posted Part 5.

I’ll never forget when I bought Jeru’s “Wrath of the Math,” and unknowingly copped the edited version. I thought I was hoodwinked, thinking that the album was less because there was no cussing (I was 17). But, that album got lots of spins, and I learned to like the edit, especially on tracks like “The Bullshit;” the edits seem a purposefully construct of the track’s message.

The reason I bring edits up is because I love the edited version of Dilla’s “Fuck the Police” (see link above). The release of the single (the week after 9/11) notwithstanding, this is one of my favorite Dilla beats and is a track that brings me back to my Aunt’s house (where I was living the first time I heard it) and the dichotomous message: in light of the support the NYPD, PAPD, FDNY, etc. were receiving during and shortly after 9/11, Dilla’s “Fuck the Police” was highlighting the corruption of police, particularly in in his city. (The personal story behind Dilla doing the track was unknown to me until I just peeped the video at Stones Throw). For what it’s worth, I think the release date was just that, a release date; the contrast between the track and the feeling in the country and world at that time was coincidental, a product of the historical events of the previous week.

The edited version is great because unless you heard the original, you wouldn’t know it was edited; Dilla’s stop & go flow on the track matches perfectly to create a seamless edit…

Click here to purchase at UndergroundHipHop.com!
Jay Dee – Fuck The Police/ Move